mercer

That does seem odd, can you return it and pick up a different one?

https://kenrockwell.com/canon/lenses/50mm-f12.htm The bokeh sounds consistent with the review. But the AF seems off... of course if you’re not using AF Fine Tuning it seems like it will be difficult to get perfect, fast AF wide open. I don’t own the lens, but I’ve been looking at getting the FD L version and they share similar characteristics.

Trust me, I understand it and I don’t see how anything I have written disputes your comments? Although this practice has been around since Edison’s time, if a product has potential to make money, the company will invest the R&D into that product.

Well, despite this forum’s name, there is an anti-Canon bias running rampant on these pages. But if you go on Instagram, you will see a slew of Canon video users. If you go to trade shows, you will see Canon cameras working the show floor. If you attend weddings, the lion’s share of videographers use Canon. If you follow vlogs, the majority are shot with Canon. Only in forums like this is Canon a bad word. With working professionals, Canon cameras are workhorses. @kye

If there’s a market for it, Canon will make it. Like every other company, Canon exists to make a profit.

Haha, when she fell I almost pissed myself. Good stuff, Boz. I love how you are using these cameras from yesteryear in your films... very inspiring!!! I am going to mess around with my eos-m next week. Did you use ML with this short? I want to experiment with the 3x Bitrate and Crop mode. Your profile looks great. So expect a donation. Have you compared your profile to others like Cinestyle or Marvels? I always used Prolost Flat in the past and found it pretty good, so since your profile is based on that but takes it further is very intriguing.

I agree with KnightsFan, I’d go with a 50mm, either a 1.8 or a 1.4 and decide from there if you prefer a wider or longer lens. When I used to shoot on crop sensor cameras, I liked to be between 35 and 50mm after the crop, so I never owned too many 50mm lenses. Now that I have a FF camera, I am discovering and testing a bunch of lenses, I never would have bought before. And it’s great because 50mm lenses are cheap. The EF Mount is so adaptable that there are a bunch of vintage lenses that could work. Nikkors are great because they are known for their cinematic look at a good price point. But if you are only looking for a few manual primes, there are also Contax Zeiss or Olympus OM or Yashica ML or Pentax that also have some great choices. And since the advent of the cropped sensor, there are so many cheap 50mm lenses on the used market to experiment with. Now I have purchased 99% of my lenses from eBay. As long as you buy from a seller with a good feedback rating and a detailed post, you should be fine 90% of the time. Just don’t do what I did when I started and buy based on price, you’ll end up with a lot of junk that is hard to resell and collects dust. So know what you’re looking for in focal length and lens speed... I shoot run and gun, horror and thriller short films. So I need fast lenses for lowlight. I try not to get any prime lens slower than an f/2. But I also rarely change lenses, so a fast 50mm lens (which are common) is often all I’ll use on a day’s shoot. Your mileage may vary.

Sorry, I swore I replied to this. No, I wasn’t referring to you, specifically, or even generally. And I agree, ML Raw is not for the timid. I have a friend who is a filmmaker, and he has loved what I’ve been doing since I started shooting with my 5D3. But as much as he loves the look, he’d rather shoot with IBIS and get “close.” So you’re right to state the issues with ML Raw, even if we don’t necessarily see them as such.

Hmm, I think the image of the Lumix may be misleading... http://bloody-disgusting.com/movie/3478912/william-friedkins-exorcism-doc-devil-father-amorth-gets-release-date/ In this article, the writer references a Variety article where Friedkin states, “I had to shoot it alone, obviously. The conditions were that I come along with no crew and no lights. So I used a Sony still camera that shot high-definition video. I had only that camera running and I was about two feet away from them, probably even closer.” So either Friedkin forgot which camera they used, or for that shot, he just held a different camera, while someone else shot him with the production camera, for effect? This grab from the trailer shows the camera in use... It’s still hard to tell, so I cropped in... It certainly kinda looks like a Panasonic, but I suppose it could also be a Sony RX10. Either way, he seems comfortable recording audio, in camera, with that little Sennheiser microphone... without even monitoring it. I suppose they may have used multiple cameras on the film but what I find most telling about the whole idea... Last May, while we were arguing which 4K camera is the best and most suitable for creating a cinematic image, William Friedkin grabbed a camera, plugged in a mic and shot a film. Pretty damn cool!!!

Which Lumix camera was used? And I want to save my judgement until I see the Devil’s skin tone.

I actually like the look of the RawLite footage very much, although it is a little too saturated for my tastes. I think the biggest “issue” with this test is the randomness of it. It seems you are really trying to work out the kinks of using a new cinema camera. So, I’m unsure if using an event like this is the best time and place to sort it out? If I were you, I’d find the most peaceful, beautiful place in your town. When the light is perfect, go there, with your tripod and shoot no more than 3-5 minutes of footage... edit that down to a 1-2 minute video and correct and grade the footage. I also think that just using Lumetri for your tests may yield better results. Keep the correction/grade as simple as possible. Also, are you shooting cLog? Because a simple cLog to Rec709 LUT should give you a great starting point and then just a light contrast and saturation adjustment will get you the rest of the way there. And... doesn’t the C200 have built in ND filters?

I’m unsure why people are so adamantly opposed to ML Raw around here? The process is rather painless now and the hacked firmware is as stable as Canon’s original firmware... in the year I have been shooting ML Raw, I have had zero issues with reliability. The post processing time is a hair more time consuming but with MLVFS, it is pretty quick... once you copy the MLV files to a hard drive, the footage runs in Resolve as if it were any other footage. Sure if you’re an event videographer and need to collect a lot of footage, then it may not be the right choice... even though there are wedding videographers that use the 5D3 and ML Raw to much success. So the only issue is storage. For the most part, storage isn’t that expensive. Personally, the “storage restraints” have forced me to become more thoughtful about what I shoot. I am working only on narratives, so in a lot of ways, ML Raw has been a godsend. I no longer have hours upon hours worth of footage to comb through. I pre-visualize my scenes, make a shot list and get the shots. I don’t do a bunch of takes for the sake of it.

I read an article about a month or so ago that stated Canon was looking to be creative with lens options in upcoming mirrorless cameras. So I think this is probably one of their “creative” options. I believe Canon files dozens to hundreds of patents a year, so who knows if this is for future tech or for a specific product in production. I think we may be seeing a culmination of various possibilities for a couple different mirrorless camera models within this one patent.

On another note, probably irrelevant to this patent... I read a few months ago that Canon has some patents for M4/3 lenses.

Maybe it will take FD lenses as well... ha... now wouldn’t that be pretty damn cool!

Yeah, the C100 has a special quality to it. The IQ and form factor has me really interested. As much as I want a Pocket II, I have a feeling a C100 may be my next camera by the end of summer.

Nice... Everybody says that lens is a dog, but you’ve proven that theory wrong. I have the f/4 and the barrel is the same way... I don’t even think you can use an ND filter with it. Great lens though. What camera did you shoot this with?

I think other controllers will use a toggle switch, to switch between functions and the maybe the trigger to change the parameters of the function. So with that type of configuration, you would need two for left, center and right.

They make a Lanc Trigger pistol grip for the Pocket, that could probably be refitted to work with the sbus. https://m.ebay.com/itm/JJC-HR-DV-Remote-Handle-Pistol-Grip-for-Blackmagic-design-pocket-cinema-camera-/221603818145

There are some companies that make them, but they cost almost the same price as the camera. I cannot stress how small the camera actually is... about the size of a rubicks cube, but once it’s kitted out, in the most basic of way, it becomes pretty monstrous. With that being said, and how Matt has demonstrated, it’s a gorgeous image. If the new Pocket just had all of the specs as the Micro with a screen, it would have been a winner in my opinion.

I’m looking at something like this for the P2. It should fit comfortably right next to my beer...

You just need the right sized pocket...

I don’t see how his budget isn’t realistic? He laid it out pretty specifically. A used 5D2, and a few lenses for 1100 euros... that sounds doable. I doubt he really needs a monitor when he stated he’s looking to get into DSLR video. Hell, this guy shoots ML Raw with a 5D2 and some old non ai Nikkor lenses. You’re right nobody was being rude, but these posts come up often and rarely do people actually listen to the OP’s requests.

It’s funny, I was so much happier and maybe even a better filmmaker when I tested lenses instead of cameras. Obviously, finished work is the overall goal but most of us don’t come here for that. Now that I have finally decided on the camera I will use to shoot the short films that float through my head and ink the page, I am much happier testing lenses for those projects rather than cameras. Luckily I already own a buttload of vintage glass. But I am still searching for those forgotten chunks of glass that add a little more dimension and character to my image.

I feel like I just had a class in Hollywood optics... glass like master primes or Cooke or even compact primes are so out of my budget that I’ve never done much research. Thanks for the tip of the iceberg... it gives me something to read about as I pine over stuff I can’t afford... lol. I tend to veer discussions off topic but I don’t know about this one... how can we have a discussion about cinema cameras and not discuss lenses? Because let’s be honest here... any one of these cameras can be used for great work, but the lenses used can really help differentiate the films’ aesthetic. There’s a reason why a lot of the GH5 footage looks the same on YouTube... there’s only so much the 12-60mm lens can do. But pop a S16 Arri Super Speed on that bitch and a whole new world opens up.